Master of Music

Two-year Master of Music in performance, jazz studies, composition and music education.

Department

School of Music

Awarding body

Not stated on the pages we checked

Official award

Master of MusicMM

Award family

MM / MMusA Master of Music or MMus, exactly as titled by the awarding institution.

Qualification level

Master’s degree

Qualification standing

Academic qualificationA degree, or a certificate or diploma awarded by a degree-awarding institution within a national qualifications framework.

Orientation

Orientation not published

Previous degree required

Not published

No program-level accreditation or validation record has been verified yet. That does not mean none exists; check the national authority and the institution.

Delivery

On campusTaught at the listed campus.

Study mode

Not published

Duration

Two-year program

Credits

48 quarter hoursCredit systems differ between countries and institutions.

Intakes

Not published

Campus

DePaul University

Taught in

English

English

English teaching not verifiedAn English-language website does not mean a program is taught in English.

Audition

Audition depends on route or instrument

Audition details

• Format: Live or recorded
• Prescreening: Prescreens are required for some instruments and for all jazz applicants; wait for prescreen results before registering for a live audition.
• Prescreening deadline: December 1 (year not printed on the page)
• Audition application deadline: Register for a live audition by January 15 (year not printed on the page)
• Interview: Composition (MM): register for an interview with in-person and Zoom options
• Portfolio contents: MM Composition: minimum of three original scores

Required repertoire, as published

• Bassoon: We encourage all applicants to audition in person if possible. Register for a live audition by January 15. | Audition Repertoire | Mozart Concerto, Movements I and II | Étude of your choice | Two contrasting orchestral excerpts
• Cello: ​​ ​We encourage all applicants to audition in person if possible. Audition registration will be available after prescreen results are sent. Register for a live audition by January 15. | Prescreen Repertoire - Due Dec. 1 | A prescreen is required for all applicants who list cello as their primary instrument. Please review our Prescreen Information page carefully before submission. | One etude (Popper, Franchomme, Piatti) | One movement of a Bach Suite (Prelude preferred) | Exposition of a standard concerto | Audition Repertoire | One etude of choice (any from Popper Opus 73, Duport, Franchomme, or a Piatti Caprice) | Prelude from a Bach Suite plus one other movement of choice (w/o repeats) | One movement from a standard cello concerto | One short (~5 minute) piece of choice, preferably by an underrepresented composer. | Performing the audition by memory is encouraged and preferred.
• Clarinet: ​​ ​We encourage all applicants to audition in person if possible. Audition registration will be available after prescreen results are sent. Register for a live audition by January 15. | Pre​​​screen Repertoire - Due Dec. 1 | A prescreen is required for all applicants who list clarinet as their primary instrument. Please review our Prescreen Information page carefully before submission. | Mozart Clarinet Concerto in A, K622, movement I Exposition | Stravinsky 3 Pieces, 2nd piece only | Excerpts from: ​Beethoven: Symphony No. 8, third movement only​​ | Mendelssohn: Scherzo from "A Midsummer Night's Dream), beginning to bar 48 | Audition Repertoire | ​​ Mozart Clarinet Concerto in A, K 622, movement I Exposition​ | Stravinsky 3 Pieces, 2nd piece only | Excerpts from: ​Beethoven: Symphony No. 8, third movement only | Mendelssohn: Scherzo from “A Midsummer Night's Dream", beginning to bar 48 | Ravel: Daphnis and Chloe Suite No. 2, beginning (rehearsal #155) to bar 17 (one measure after rehearsal #157) AND Rehearsal #212 to the end of the piece​
• Euphonium: We encourage all applicants to audition in person if possible. Register for a live audition by January 15. | Audition Repertoire | Two major sections from Gordon Jacob's Fantasia | Two contrasting variations from Arban's Carnival of Venice | Second movement from Bach's Sonata in Eb Major for Flute | Two contrasting variations from Jan Bach's Concert Variations
• Flute: ​​ ​We encourage all applicants to audition in person if possible. Register for a live audition by January 15. | ​Audition Repertoire | ​​A movement from a concerto of your choice (if Mozart, no cadenza needed) | Contrasting piece or one movement from a work that is a concerto or a sonata | Choose three flute excerpts from below: Beethoven: Leonore No. 3, Allegro mm. 328-360 | Debu ssy: Afternoon of a Faun , first 4 measures and rehearsal numbers 2-3 | Hindemith: Symphonic Metamorphosis, Movement III (Andantino) | Mendelssohn: A Midsummer Night's Dream , Scherzo, 12 before [P] to end | Brahms: Symphony No. 4 in E Minor , Movement IV, mm. 89 -105​ | Optional: Piccolo excerpt. Choose one from below: ​M. Ippolitov-Ivanov: Caucasian Sketches | Ravel: P iano Concerto in G Major , opening solo to rehearsal number 1 | R ossini: Overture to "Semiramide," G-H and T-U ​​
• Harp: We encourage all applicants to audition in person if possible. Register for a live audition by January 15. | Audition Repertoire | ​ Etude (choose one of the following): ​Bochsa: Etude No. 1 (Allegro moderato) from Cinquante Etudes Book 1 | Naderman: Sonata No. 2 from Sept Sonates Progressives I | Lariviere: Etude No. 36 (Allegro​) ​ | ​ Solo A free choice from standard solo repertoire | Three orchestral excerpts of your choice . Examples include: ​Tchaikovsky: Cadenzas from the Nutcracker or Swan Lake ballets | Bartok: Concerto for Orchestra, Movement IV mm. 43-59 | Verdi: La Forza del Destino Overture
• French Horn: ​​We encourage all applicants to audition in person if possible. Register for a live audition by January 15. | Audition Repertoire | ​One movement or section from one concerto or solo work and one contrasting movement or section from a different concerto or solo work​​. (Two different solo sections in total) | Four contrasting orchestral or operatic excerpts
• Oboe: We encourage all applicants to audition in person if possible. Register for a live audition by January 15. | Audition Repertoire | A work written by an underrepresented or otherwise unjustifiably forgotten or marginalized composer of the candidate's choice. This work may have been written by a female, afro-descendant, LGBT+, Latinx, First Nation or aboriginal, or disabled composer, or anyone whom the candidate considers a person deserving of equal treatment. | Two contrasting etudes showing the applicant's level of technical and musical ability (i.e. Barret, Ferling, etc.). | A complete work of considerable artistic and technical challenge from the standard tonal solo repertoire (Strauss, Mozart Concertos, etc.) | At least six standard orchestral excerpts (Brahms Violin Concerto II. mvt.; Rossini La Scala di Seta Overture; Ravel Le Tombeau de Couperin; Rimsky-Korsakoff, Scheherazade, II mvt.; Debussy, La Mer II mvt.; Shostakovich Symphony No. 7, II mvt.; etc.)​
• Percussion: ​​ ​We encourage all applicants to audition in person if possible. Register for a live audition by January 15. | ​Audition Repertoire | Graduate auditions should feature one selection each on snare drum, timpani, two-mallet marimba and four-mallet marimba and include orchestral excerpts. All students are asked to bring three copies of their music with them to the audition.​​​ | Snare Drum | Concert Solo (comparable to Delecluse Douze Etudes, Keiskleiriana) | Rudimental Solo (comparable to Wilcoxon All-American Drummer, Tompkins French-American Rudimental Solos , or Pratt 14 Modern Contest Solos) | Three orchestral excerpts​ | Marimba | Two- and four-mallet solos (Bach violin sonata, partita, or cello suite is recommended for one of your selections) | Timpani | Four-drum timpani etude/solo from Vic Firth's Solo Timpanist , Richard Hochrainer's Etuden Fur Timpani (Book 2 or 3), or a comparable work | Three orchestral excerpts | Xylophone | Three orchestral excerpts | Glockenspiel | Three orchestral excerpts | Tambourine | Two orchestral excerpts | Cymbals | Two orchestral excerpts
• Piano: ​​ ​We encourage all applicants to audition in person if possible. Audition registration will be available after prescreen results are sent. Register for a live audition by January 15. | Prescreen Repertoire - Due Dec. 1 | A prescreen is required for all applicants who list piano as their primary instrument. Please review our Prescreen Information page carefully before submission. | Memorization is required. The complete program must include works from at least two stylistic periods. Students must prepare approximately 20 minutes of repertoire, including: | • The first movement of a Classical sonata (required) | • Additional repertoire of the applicant's choice | Audition Repertoire | Master's and Post-Master's Certificate candidates must present a 40–55 minute program that includes at least three complete solo works from different stylistic periods. A complete Classical sonata (including Schubert) is required. All repertoire must be performed from memory. | All sonatas, variations, suites, and other multi-movement works must be prepared in their entirety. | Sets of pieces intended to be performed as a unified work must be prepared in their entirety (e.g., Chopin Preludes Op. 28; S
• Saxophone: We encourage all applicants to audition in person if possible. Register for a live audition by January 15. | Audition Repertoire | Two complete works from the standard solo repertoire. | Four orchestral excerpts of your choice.
• Trombone: ​​ ​We encourage all applicants to audition in person if possible. Register for a live audition by January 15. | Graduate Tenor Trombone Audition Repertoire | Romantic Solo (choose one of the following or a comparable piece): Tomasi Concerto, Martin Ballade, Creston Fantasy, Casterede Sonatine. | Baroque Solo (choose one of the following or a comparable piece): two contrasting movements from the Galliard Sonata, Marcello Sonata, Handel Concerto in f minor, Pergolesi Sinfonia, Albinoni Concerto in Bb, Albrechtsberger Concerto. | Orchestral Excerpts (prepare all): Ravel Bolero , Wagner Ride of the Valkyries (B Major section only), Rossini William Tell Overture , Saint-Saens Symphony No. 3 , Mahler Symphony No. 3 (1st loud solo only), Mozart Tuba Mirum . | Graduate Bass Trombone Audition Repertoire | Romantic Solo: first page from Spillman Bass Trombone Concerto and one other romantic concerto of your choice.​ | Orchestral excerpts (prepare all): ​​Verdi Falstaff (trombone basso - Act 3, first 5 measures of rehearsal 7 and rehearsal 14-15) | Wagner Das Rheingold (trombone 4 - entire last page: final soft chorale and final "entrance of the gods" excerpt) | Wagner Ride of the Valkyries
• Trumpet: ​​​ ​We encourage all applicants to audition in person if possible. Register for a live audition by January 15. | Audition Repertoire | Solos First and second movements of the Haydn Trumpet Concerto in E-flat Major (performed on B-flat or E-flat trumpet) | Intrada for Trumpet and Piano by Arthur Honegger | Etudes Charlier No. 2 | Orchestral Excerpts Mussorgsky/Ravel: Pictures at an Exhibition, "Promenade": beginning to [2] | Mahler: Symphony No. 5, Movement 1: beginning to 4 after [1] | Respighi: Pines of Rome, Movement 2: offstage solo | Stravinsky: Petrushka (1947 edition) | Handel: Messiah, "The Trumpet Shall Sound" (performed on piccolo or D trumpet)
• Tuba: We encourage all applicants to audition in person if possible. Register for a live audition by January 15. | Audition Repertoire | ​​​​​​​​​One complete work from the standard solo literature (Vaughan Williams's Tuba Concerto , John Williams's Tuba Concerto , Plog's Three Miniatures , Penderecki's Capriccio , etc.) | Two contrasting etudes | Four standard orchestral or military band excerpts | All two octave major and minor scales
• Viola: ​​ ​We encourage all applicants to audition in person if possible. Audition registration will be available after prescreen results are sent. Register for a live audition by January 15. | Prescreen Repertoire - Due Dec. 1 | A prescreen is required for all applicants who list viola as their primary instrument. Please review our Prescreen Information page carefully before submission. | First movement of a 20th century concerto, memorized. No accompaniment needed. | One movement of a standard sonata | One movement from a Suite for Unaccompanied Cello by J.S. Bach | Audition Repertoire | One movement of a 20th century viola concerto, memorized | One movement of a standard viola sonata or solo viola work | Prelude of a solo Bach suite, sonata, or partita plus one other movement of the applicant's choice, memorized | One movement of a work of the applicant's choice
• Violin: ​​ ​We encourage all applicants to audition in person if possible. Audition registration will be available after prescreen results are sent. Register for a live audition by January 15. | Prescreen Repertoire - Due Dec. 1 | A prescreen is required for all applicants who list violin as their primary instrument. Please review our Prescreen Information page carefully before submission. | Exposition from first movement of a standard concerto | One movement from a solo sonata or partita by J.S. Bach | Audition Repertoire | All repertoire must be memorized for the live/final audition. ​ | ​Complete first movement of a standard concerto | One movement from a solo sonata or partita by J.S. Bach | One caprice or etude by Paganini, Wieniawski, Rode, Dont, Fiorillo, or Ernst
• Classical Voice: ​​​We encourage all applicants to audition in person if possible. Audition registration will be available after prescreen results are sent. Register for a live audition by January 15. | Prescreen Repertoire - Due Dec. 1 | A prescreen is required for all applicants who list voice as their primary instrument. Please review our Prescreen Information page carefully before submission. | Your pre-screening video must include two songs, classical in nature, one in English and one in a foreign language. | Applicants should use songs to demonstrate different vocal techniques such as vowels that are sustained and supported over longer note values, vocal agility in passages with quick-moving notes, consistency of tone though low, middle, and high portions of the singers range, etc. | Selections should be accompanied when appropriate. | Audition Repertoire | One selection each in Italian, German, French, and English and include at least one opera or oratorio aria and one twentieth-century selection (four selections total). | Suggested Composers | In addition to the vast repertoire of baroque, classical, romantic, and 20th/21st century music written by Bach, Handel, Mozart, and their contempora

SourceSpecific to this program and intake. Check the current admissions cycle; nothing here guarantees admission, and you cannot assume you may audition for a particular teacher.

Portfolio

Portfolio requirement not published

Interview

Not published

No total is shown: the sources do not state a whole-program figure and the published duration and fee basis do not support a calculation.

Lesson fees, accompanists, practice-room charges, instruments, software, recording, recitals, compulsory travel and residencies are not listed by the institution on the pages we checked. Do not assume an instrument, an accompanist, software or private lessons are included.

Not published on the program’s source pages: full-time or part-time options, intakes, whether a previous degree is required, accreditation or validation record.